Advocate of his time. If the mezzotint is less arresting
than some of the others, it is full of charm and refinement,
and is one of those most favoured by collectors. The
Tytler and the James Balfour are in strong contrast to
the Dundas, and show Jones’ ability to vary his work
according to his conception of the portrait. One hardly
needs to be told that Tytler was a great antiquarian, as
well as a successful Writer to the Signet. James Balfour
—known as “ Singing Jimmy ”—was a typical character
of the period—amiable and able, but much given to
conviviality. The portrait represents him in the attitude
of beginning his favourite song.
Richard Earlom like Jones also belongs-to the earlier
generation of engravers, and his subject Lord Provost
Elder is one of the old school. The portrait was painted
for the University, for the erection of which Elder was
largely responsible.
The Henry Erskine is a print to live with—its gaiety
is tonic. It is engraved with much artistic feeling,
as one would expect from James Ward, and it is interest-
ing also on the technical side. Erskine, who was an
elder brother of Lord Chancellor Erskine, was twice
Lord Advocate when the Whigs were in power. He
was the Sydney Smith of Scotland, and innumerable
jests and repartees are recorded of him. The portrait
seems to catch him in the utterance of some bantering
retort.
The Marquesse of Bute, by William Ward, is a full
length of a handsome young man standing on the shore
of his island home. Although it is the only plate after
Raeburn by William Ward, Morland’s engraver must
have had a Scottish connection, as he executed several
attractive mezzotints after Geddes. One of these, the

148